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ener cams 


in prac- 
Ne ioe 
ort having’ 
‘The Du- 


are embraced in, 
yl watches a triumph- 
r nding its way toward 
vision of victory. A black 
hovering over the heads. 
his General, who are in. 
and is the symbol that 
become King. At the 
e same procession en-_ 
1 attended by the eagle. 
laio was a pupil of Fra: 
e catalogue describes his. 
ks ag ‘‘ translations of. 
more coercive and flu-, 
hy.’ The flourishings of 
n describing the anatomy of 
ses are extremely amusing in the 
instance, and.the whole work 
is out with spontaneous zest, 
On. the opposite wall hangs Rubens’s: 
** Holy Family,’’ from the Duke of Suth- 
erland’s collection, a very, important 
tion with six figures, warm in 


y hand of the Virgin holding the foot of 
the Child, the reflected lights, the casual 
yosture of the little cherub ‘leaning: 
lagainst the Virgin, are among the de- 
tails accentuating the attractiveness of 
he whole, but the chief merit is one 
which all good pictures share, ‘the hold- 
ng together of the various parts in’ one 
clear impression. It isa A abate Pict- 
lure, rieh. in painting qual ! 


ig 


iGuyp, ths! Hanan a <a, baorias ‘Cattle, 
and Shepherds in a Landscape, ” from 
the Maurice Kann collection, apparently 
‘in good. condition, and a most inspiriting 


‘painting, with exquisite distances, lumi- 


‘nous shadows, delightful color, a 0 
masterpiece of painting. - 

It will be interesting to see how ein 
the public is swayed by circumstances 
of sale in its” bidding on the more fortu- 
nate canvases in this little group, Most 
of them are works that would impress. 


olor and joyous in execution, The love- . 


their great distinction if they. were 
‘shown in the conventional tidy state, 
‘spick and span as to varnish and frame. 


PAINTING BY CUYP 
- SOLD FOR $13, 


Top Price of Fiftecn Damaged 
_ Masterpieces Given for a. 
Dutch Landscape. | 


A LAWRENCE FOR $31,000 


e 


Reynolds s. “Mrs. Otway and Child” 
ba Brings” $30, 000, a ‘Rubens 
an. Pay 000—Total, $190,125. 


Pee Hyiy one of the ‘shortest picture. 
sales on record and the smallest num- 
ber of pictures for which the ballroom 
of a great hotel was taken for a sales+ 
room was the sale of fifteen master- 
piecés of painting belonging to the Du- 
veen Brothers -by the American Art 
‘Association at the Plaza Hotel last 
evening. 

These were the Gieeaee which were 
on the steamship Mississippi in Novem-| 
‘ber, 1914, when a fire breaking out they 
‘were more or, less damaged. The paint-| 
ings were sold as they were, without} 
attempt at restoration, and the returns 
for the fifteen were $190,125. . The high- 
leat price of the évening was $73,000 
given by Scott & Fowles for Albert 
Cuyp’s ‘Horsemen, Cattle, and Shep-| 
herds in a Landscape.” 

The picture by ohe Dutch master 


‘shows a beautiful Summer morning, a 
road by a stream, trees and rocky, 
wooded hills, and a little color, red and 
blue, is introduced in the figures on 
the. ‘road. ‘It is a picture which was 
said by de Groot to be one of the best 
‘by the artist on the Continent. It came 
\from the collections: of Edmund Hig- 
ginson of Saitemarsh Castle, 1842; Jo- 
seph. eames 1872, who lent, it to the 


0, y jays Be q ae 
Gennetiene ‘he! sul nee 
ad it was ‘finally knocke 


age etur 
oF the pictures paint n. panel 
the wood badly warped, nd in so 
laces cracked where the ° col 
ee eases on: teri eds e As e. 


ae ak 


Cap, “by Poero ai Tac 
lai SN 


uolo, went to” 


fa Red Cap,’’ by ough went. toyM. 
‘J. Rugeron for $175 

Giving the other pictures. in’ the order 
{fof sale, °a circular. panel 3 feet» 
| diameter, ‘Virgin and Child with St. 
| John,’ by lorenzo. di. Credi, went to 
| Henry Reinhardt for. $3,700, and to the 
same buyer went Nae cireular panel, 
30%," inches in ave “Virgin and 
| Child with Saints" yo Pier: Francesco 
Fiorentino, for. ~The “Madonna 
jand. a bench by Mariotto. Alber- | 
Paha ae “by MveNte tO: Bs La, 
| d or $1,2 200, 00, ana, Cosimo. Rosselli’s 
}eVirgin aa Child with St: John and 
Saints,’’ circular panel, 3 feet 254 inches 
in Sindee gaia went to. Bernet,. “agent, for 


SO he delightful. Jo ong, harrow ‘panel,’ 
| ** Processional ‘inches in 
| height by 65% inonene iby. Fooane lel Sel- 
‘ajo, went to P. BD. Colnaghi of don 
for $3,300. °° Paul’ Potter’s. * Landscape 
with Cattle,’ a pleasing picture, which 
had aks in the Yerkes collection, went 


250, and the “ Be: a oe South? fas 


ee placed on publ 


| “yesterday. by 


to A. G, Brown for $3,000, There eit 

three Cu ey us as ponec ren and. 

‘panel, “The “Flight Thto 

BHgypt,”’ went ie ‘Knoedler & Co. - Who 

were competitors for the more impor- 

‘tant. picturé ey, the -artist, for $4. 000, 
e 


‘f* Oxen- in-“a@ QQy Ss Cuyp, we t 
| De. Paul Merseh for 33,500. ie as 


1 The two beautiful portraits by Sir 
| Thomas Lawrenee and Sir Joshua Reyn- 
any brought nearly the same price, The 
|‘* Portrait of Miss Sotheran,” by Law- 
rence. was nearly full length, a charm-! 
jing young woman, simply dressed in 2. 
creamy white gown, blue sash, and sal- 
mon-colored shawl. It went to Scott & 
Fowles for $31,000. “W. BH. Hivarts paid 
$30; 000 for Reynolds’ so Mrse Otway: and 
Child, a woman seated, wearing a 
|owhite gown and quilted coat, with a 
yellow bow as a headdress.. She holds! 
ithe hand of the child, who stands upon 
(ba. sofa. Sir Anthony Van. Dyck's, 
4** Portrait of Alexander Triest, Baron. 
bd’ Auweghem,’’ oa standing > figure in 


}black velvet, with wide, thick ruff and 
jone hand resting on the pommel of his 
ree went to Beaman: agent, For 
‘83.700 

| Rubens’s, The ‘Gialy. Family: wade 
the last picture sold and went to Cah 
Fo Williamson. of Paris, for $20,000.; 
This was from: the collection of the! 
Duke ‘of Sutherleénd. It is .63 by 5) \ 
inches, composed of six life-size figures, 

the Virgin with the Child at her breast, 

a cherub at’ her. feet; at the left St. 

Catherine holding the little St.John 
with St. Joseph on the right bending 
over, the SrOUps 


en mer chp hen lettninenee 


‘leries of the” Americaft“Art Asso 
Duveer . 
which will be bola nex 
ning in the 'paliroom 4 | 


perts These paintings are I 
“masters, some ‘by the. ereates 
“were saved from a fire” on 
‘steamship Mississippi, which 
Mthem to this port in No 
One or two of the pictur 
blnckened by the fire 
“may scarcely, be me 

‘nately; these are 
‘tures. — ny 
The great shun "J 

seems to be quite uninj 
Van Dyck portrait : 
Reynolds, Lawren ae 
selli and Sellajo have b¢ 


‘amateur. Two of c. 
have received visible de 
art of the “restorer” no dow 
the history of the accident fre 
The pictures are being 
of the fire and exactly in’ th 
in which they came from t 
effort has been made 
but Duveen Bros, announe 
will advise with the buyers 
charge in regard to the. right 
take. Restoration has. been pi eI 
‘such an extent in modern @ 
it is: regarded as an € FAC 
will not greatly surprise yo 
see the “Portrait of a ¥ 
Cap,” by Ambrogio da F 
from its present blackened 
much of its true color. 
“Mhe Holy Family,’ & 
Rubens, as has been said, 
help from the experts for ‘its: ap! 
‘tion: All of: its qualities m 
fectly read. It is a large and 
‘example, and comes from the colle 
‘of the Duke of Sutherland. It was 
in Strafford House by Dr, Waage: 
‘wrote of it in his book, “T 
‘art in Great Britain,” praising a 
ciaHy the joyousness of the children: 
the group. et 
- The manner of the painting is i 
‘free and artists will appreciate the di- 
‘rectness of the brushwork, but the main: 
‘distinction lies in the masterliness. of 
ithe composition. Thére are she figures: 
in the group. The Virgin occupies ths 
centre of the canvas and is offering the 
‘preast to the Child, who lies.in her lap. 
‘A cherub. stands at her feet, gazing up | 
into’ her face. St. Catherine is at one 
side, supporting an especially lovable 
little St. John, and St. Joseph is in the 
packground. . 


” pial 


To Rudolph Kan 
 Carlisle’s gallery. 


ards, 


a) 


‘ciable injuries. 
‘©hateau towers in the back are as effec- 
ue es Enough can be seen of sa 


Cx ar sre, 

Rerds,” among the various owners of 
eM a ink ae C, Wertheimer, Count 
Bon: mi de Castellane and Maurice~Kann, 
OF the early Italiam works here ‘on 
view the “Virgin and Child with St. 


obs y John,” by 
di Credi, the “Virgin and Child 


_lajo, present but minor problems for the 


restorer, and their decorativeness and 
bg color may be fully appreciated 


_ +he Processional,” by Del Sella o, 
once formed the front panel of a women 
chest and shows a triumphal procession 
Pomme its way to Rome. This pro- 
cession. has been interrupted and flung 
inte disorder by the apparition of an 
eagle which has swooped down and 


lsonage, a general. 


i\bolizes, according to an old legend, that 
and the effect of supernaturalness is 
heightened by the extreme restiveness 


of the horses and other animals in the 
| Procession, 


rt ‘It repre- 
man of middle age, of command- 
cter, with beard and mus- 
ing the “ruff of pride,” which 
S wore in emulation of the 


hovers over the head of the chief per-. 
The apparition, sym- | 


the general is to be the future king, | 


2) 


142 Sea 


ew =" Y= 
irate, eyo 
x ‘ 4 ” ; 
* ; 
¢ 


eH. et 


t 
ote 


_ Record Price of the. 


a « Season. | 
bg a4 Paint: Phe! 


! 


P 


Er ea 


It "was reserved for the “fire sale” of 
'Duveen Bros, which took place last 
night in the ballroom of the Plaza 


Hotel under the management of the. 
American Art Association, to break thé /| 


auction record of prices for this season. 


A landscape by Aelbert Cuyp, with 
horsemen, cattle and shepherds, brought | 
$73,000, selling to Scott & Fowles, the 


picture dealers, of this city, No other 


auction sales of this season. 

The fifteen paintings that were sold 
“were all by famous masters, and most 
of them ‘had long pedigrees, coming from 
famous collections. Last November 
when they were on their way to this 
_eity in the steamship Mississippi a fire 
Started in the hold of the ship and 
‘some of the pictures were damaged by 
heat and smoke, while others afterward 


sale of last evening became necessary. 
(The most important pictures of the 
‘group suffered but slightly and with 
‘proper cleaning by experts. it was 
‘thought all traces of ithe accident could 
ibe obliterated from them. One or twe 
of the early Italian pictures were so 
‘blackened as to be almost indistinguish-. 
‘able, but even they brought consider- 
cable sums, which is proof that the pic- 
‘ture restorers had reported hopefully 
upon them. 


Unprecedented Features. 


The sale, having these unprecedented 
_ features, 
/experts and to experienced collectors. 
/ Au of the picture dealers in n were 
present and also ex-Senator William A. 
Clark, Sir Hugh Lane and John Quinn. 
' The great Guyp, for which Scott & 
| Fowles gave $73,000, apparently escaped 
all damage and the pigments were cer- 
'tainly bright and clear in the remorse- 
ilessly bright: lights of the Plaza Hotel. 
| It ig. a large canvas with a romantic 
| Italianized subject. There are hills in 
it and a river, with a bridge in the 
| foreground, around which are grouped 
‘the “horsemen, cattle and shepherds.” 
‘It once belonged to Edmund Higginson 
lof Saltmarshe Castle, and subsequent 
‘owners were C, Wertheimer of London, 
‘Count Boni de Castellane of Paris and 
|\Maurice Kann, the dispersal of whose 
art collections in Paris caused a sen- 
isation in the art world a few years ago. 
| Seott & Fowles also bought the “Pur- 
itrait of Miss Sotheran,” by Sir Thomas 
Lawrence, for $31,000. The Sir Joshua 
Reynolds portrait of “Mrs. Otway and 
Daughter’ was sold to W. HE. Bvarts 
for $30,000. This Sir Joshua formerly 
Was part of the Oppenheim collectioa. 


Cuyp ‘Landscape Brings the 


MANY EXPERTS PRESENT) 


' picture has approached that sum in the 


were subjected to the suspicion of hay- | 
ing been damaged. For that reason the 


appealed particularly to the: 


The large *' Peter Pat 
Rubens, was Gecchase’, by C. | rill: 
jamson of Paris for $20,000, and a - 
out doubt the painting will be returned 
to France, | It was once a part of the 
Duke of Sutherland’s collection. es 
‘portrait of “Alexander Triest, Baron 
d’Auweghem,” by, Van Dyck, sold to 
Paul J. Sachs, agent, for $8,700. It 
came from the Rudolph Kann collection. 


Other Purchasers and Prices, 


The “Flight Into Egypt,” by. Aelbert 
- Cuyp, also from the Rudolph - rann col- 
lection, went to M. Knoedler & Co. for 
$4,000. and’Dr. Paul Mersch paid. $3,500 
for Cuyp’s “Oxen in a Shed.” .The 
Paul Potter “Landscape With Cattle” 
sola to A. G. Brown for :$3,000,. the 
“Processional Scene,” by Jacopo. del 
Sellajo, to Colnaghi & Obach of London 
for $3,300; the “Virgin and Child,” by 
Cosimo Roselli, to Otto Bernet, agent, | 
for $2,600; Atbertinelli’s “Madonna” to 
SL, Luder for $1,200, Pier Francesco 
Fiorentino’s  ‘‘Virgin ‘and Child’ to 
| Monty Reinhardt for $5,700, Lorenzo di 
| Credi's “Virgin. and ‘Chila” to Henry 
| Reinhardt for $8,700, the Da Predis 
“Youth With Red Cap” to M. Rougeron 
{for $175 and Piero di Jacopo Benci’s 
“Young Manin. Black Cap” to R, H.| 
Loines for $250. 
The total for the fifteen paintings was 
eae 4125. Large as this sum is a con- 
siderable loss in values is indicated, as. 
‘the Sir Joshua. Reynolds ‘Portrait of 
Mrs. Otway,’ which sold for $30,000, 
-eost Duveen Bros. $154,000, Mr. Kirby 
‘announced. Just what proportion of this 
loss is to be borne by the insurance com- 
panies Duveen Bros. would not say. 


Bie 


15 Old’M asters 
Exhibited Before 
Art “Fire Sale’’ 


Injury to Paintings Owned by Duveen 
‘Brothers Ranges from Almost Total 
| Obliteration to Slight Deficement.. 


CARNE eae | 


Bifteen paintines by old Saajrs placed 
@n view yesterday in the A Art 
‘Galleris; No.6 Madison SquareSouth, will 


be cold in an auction unique In-New York— 
@ veritable “fire sale.” THEY are works 


‘belonging to Duveen Broth which were 
in a fire on beard the M ippl, of the 
French line, last Novem’ hey will be 


Sold on: Thursday night In the Plaza 
Hotel, 

The damage to the pictures ranges from) 
almost complete obliteration te only a 
alight defacement, The pictures will be) 
sold in the condition tn which they ar- 
rived. In seevral cases the damage ap-) 
parently extends no deeper than the var 
nish. In others, previous restorations 
have suffered, leaving the picture as it 
originally existed. Others, painted on) 
panels, are warped and split. Others look 
as if they had been damaged by rough 


‘remaining on the sur 


handling by the crew. 


ee SiOte can bes e 


‘to suffer was Pollatuolo’s 
of Young Man in a Black Cap," 


little brown: and silver appearing 
Roarped panel—an interesting sul 
an expert restorer, ‘Virgin and Ch 
St: John,” by Lorenzo di. C 
‘circular panel which was eur 
in. two places. ‘Virgin and 
‘Saints,”’ by Pier Francesco 
(1440-1500), which was in the F 
‘Collection, of Bologna, is warp 
‘but the pigment remains good, 
‘and Child,’’ by Mariotto Alebe 
1515) fs blistered. ‘Virgin 
‘Saint John and Saints,’ by Cosir 
selli (1439-1507), a panel, is split: 
places and also shows the effe 
handling. ‘Processional Scene 
del Sellajo, a panel from a’ 
@ beautiful work, has a few sc: 
reach into the chalky priming 
piment, but is susceptible of 
‘tion. 

Among the works which Ww 
less, and. which when restored wi 
as good condition as the avenage 
‘of the period in the American coll 
is “Landscape and Cattle,” by Paul : 
which was in the collection of Prince 
nitz, Baron de Rothschild, Edouard Kums 
and Charles T. Yerkes. Aelbert Cuyp’ 
“The Wlight Into Egypt, ¥ which was — 
the Rudolph Kahn collection, is on a 
which has a crack through the cen 
tissuS paper was stuck to the varnish 
the fieat. ‘“Oxen in a Shed” is ano 
Cuyp, also from the Rudolph Kann co 
tion. ‘Horsemen, Cattle and Sheperds in 
a Landscape,”’ from the collection of Comte 
Boni de Castellane and Maurice Kann, is 
@ typical subject by Cuyp which to the un- 
practiced eye appears to have escaped 
the fire almost unscathed, and which af er 
restoration should appear in fine conditior 

There are two fine old English portr 
in the collection which have not suff 
serious injury. One is a beautiful work 
Sir Thomas Lawrence, “Portrait of | 
Sotheran,’’ and the other is Sir Josh 
Reynolds’ “Mrs. Otway and Child, 
work which was engraved in mezzotint “by 
James Scott and comes from the Opper 
heim collection and that of Charles Sack: 
ville Bale, grandson of Mrs, Otway. 

The other two works in the collection 
are St. Anthony Van Dyck’s “Portrait of 
Alexander Friest, Baron. d'Auweghem, Y 
from the Lord Carlisle and the Rudolph 
Kann collections, and ‘“‘The Holy Family,” 
by Peter Paul Rubens, a brilliant worl 
from the collection of the ‘Duke of Suther 
and. | 


coronene teen easement 


asS MaiatsGha Se ENT . hy a 


eautiful work, 
a shed, with a 

WwW, while in the dis- 
cornfie and a shepherd driv- 


it of Miss Sotheran,” a beautiful 
‘Sir Thamas'- ‘Lawrence, was 
by Scott & Fowles for $31,000, Bid- 
started at $2,000, It is a dec-. 
tive. work, with ay Tandscape | back-, 


ite acai 


ay 


ja es tt 

trait of a iat Man i 
sy hi RY Loines for 
r s ‘Virgin F 


dn two places, went to. 
Henry Pe ieea: for $3,700; Fiorentino’s 
“Virgin and Child with Saints,” which 
was warped and split, went to the same 
buyer for $5,700; Albertinelli’s “Madonna 
and Child” to B. L. Lueder for $1,200; 
Cosimo Rogselli’s ‘Virgin and ‘Child with. 
St. John and Saints,’ with panel | split in 
three places, to Otto Bernet, agent, for 
$2,600, and Jacopo del Sellajo’s “Proces- 
sional Scene,’ originally the front panel 
of a wedding che O oe & Obae ky. 
of ee for $3,300. i 


PSR Sp OP PN RG PRESS ETBP TEE eee et 1EIT SS Dees hae oe ip 


Comte Boni de Castellane and Mauric 
‘Kann, Paris. The scene represents 
fine summer morning, and the atmos- 


ure itself. This is, Shane | to de 
y 


in 


TF = S.i76 es. 


Re 5 SO 


omas E, Kirby, of the Am 
sociation, established a 


ht for speed and re ' 


__ Almost all of the paintings had been 
damaged by heat, smoke and water 
during a fire in the hold of the steam- 
Ship Mississippi, in November, 1914 
While in transit to this country. Mr. 
Kirby declared last night that with 
he exception of the first two pictures 


ki 


‘Landscape,” b 
LOYD, 
inches long. 


to the _Academy for exhibition tha 
year; C. Wertheimer, 1894, who als 
jent it to the Academy in that year; 


‘pheriec effects of summer light on lan 
and sky are most admirably rendered 
while aerial perspective is that of nat- 


Groot, one of the best pictures } 
on the Continent. : ; reese: 

The next best price of the sale was 
$30,000 paid by W. E. Evarts for “Mrs. 
Otway and Child,” a canvas by Sir 


uyp 


yy 


Joshua Reynolds. The subjects are Ne Bee | 
Sarah, wife of Francis Otway, and her ae ae | 
daughter Jane, afterward Mrs. Mc- ee haa) to 
Murdo. The picture is from the Op- ie | 


-penheim collection, and it was formerly 
‘in the possession of Charles Sackville 


Bale, Esq., grandson of Mrs. Otway. 
It was exhibited at the British Institu- 
tion in 1841 as’ “Mrs. Otway and 
Child,” and again in 1857 as “Family 
Portraits.” Scott & Fowles gave $31,- 
000 for “Portrait of Miss Sotheran,” by 
Lawrence. . 


——_ 


x 


Fh 
dial 


ON FREE VIEW 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


FROM SATURDAY, APRIL 24TH, UNTIL THE DAY OF SALE 
9 A.M. UNTIL 6 P.M. 


82S] 


A NUMBER OF 
VERY IMPORTANT PAINTINGS 


BY 


THE GREAT MASTERS 


TO BE SOLD AT UNRESTRICTED -PUBLIC SALE 


BY DIRECTION OF 


MESSRS. DUVEEN BROTHERS 


- ON THURSDAY EVENING, APRIL 29Tn, 1915 
BEGINNING AT 8.30 O’CLOCK 


IN THE GRAND BALLROOM OF THE PLAZA 


FIFTH AVENUE, 58TH TO 59TH STREET 


CATALOGUE 


OF 


A NUMBER OF VERY IMPORTANT 
PAINTINGS BY THE GREAT MASTERS 


WHICH WERE IN AN OUTBREAK OF FIRE THAT TOOK PLACE ON 
BOARD THE STEAMSHIP MISSISSIPPI IN NOVEMBER, 1914, 
WHILE THE PAINTINGS WERE IN TRANSIT TO 
THIS COUNTRY, AND IN CONSEQUENCE 
OF SUCH DAMAGE ARE TO BE SOLD 


AT UNRESTRICTED PUBLIC SALE 


BY DIRECTION OF 


MESSRS. DUVEEN BROTHERS 


NEW YORK AND PARIS 


ON THE EVENING HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY, OF 


THE AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK 
LOLS 


THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS 
ALL DETAILS OF ILLUSTRATION 
TEXT AND TYPOGRAPHY 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either decide 
the same or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be Hopiediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon Pe 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P.M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 
which the Association is in no wise engaged, and will not be performed 
by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 


for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuimeness or authenticity .of 
any lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “‘as is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 
foundation. | : 


SPECIAL NOTICE. 

Buying or bidding by the Association for responsible parties on 
orders transmitted to it by mail, telegraph or telephone, will be faith- 
fully attended to without charge or commission. Any purchase so 
made will be subject to the above Conditions of Sale, which cannot 
in any manner be modified. The Association, however, in the event of 
making a purchase of a lot consisting of one or more books for a pur- 
chaser who has not, through himself or his agent, been present at 
the exhibition or sale, will permit such lot to be returned within ten 
days from the date of sale, and the purchase money will be returned, if 
the lot in any material manner differs from its catalogue description. 

Orders for execution by the Association should be written and 
given with such plainness as to leave no room for misunderstanding. 
Not only should the lot number be given, but also the title, and bids 
should be stated to be so much for the lot, and when the lot consists 
of one or more volumes of books or objects of art, the bid per volume 
or piece should also be stated. If the one transmitting the order is 
unknown to the Association, a deposit should be sent or reference sub- 
mitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, 
will be furnished by the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South,. 
New York City. 


NOTICE 


The fifteen paintings herein described were in an outbreak of 
fire which took place on the steamship Mississippi in November, 
1914, and will be sold by direction of Messrs. Duveen Brothers. 

The pictures will be sold in their present condition, no at- 
tempt having been made to restore them. Messrs. Duveen 
- Brothers will be pleased without charge to advise purchasers in 
regard to the necessary restorations and aid them in selecting 
an expert restorer for the needed work. 


AMERICAN ART ASSOCIATION, 


ge MANAGERS. 
A 4 ae ig. 
Kir %. f A ed i No. 1 at s nn “5 
ee Tt ere 


® 1 * PIERO DI JACOPO BENCI 


ee rl (cattep POLLAIUOLO) 
oi a tel 4 - 
7 . IvTaALIAN—FLORENTINE ScHOOL: 1443—1496 


BUST PORTRAIT OF YOUNG MAN IN BLACK CAP 
(Panel) 


Height, 14% imches; width, 12 inches WH. Janey 


Because their father was a poulterer, the nickname Pollaiuolo was V259 . 
given to the two brothers Antonio and Piero di Jacopo Benci, and was 
extended also to the former’s nephew, Simone. The last as an architect, 
Antonio as sculptor, jeweler, painter and engraver, and Piero as a 
painter played a considerable réle in Florentine art during the fifteenth 
century. Piero was a pupil of Baldovinetti and worked mainly on his 
brother’s designs. His principal independent works were a ‘“Corona- 
tion of the Virgin” in the choir of San Gimignano; “Three Saints— 
S.S. Eustace, James and Vincent” and a miniature profile of a lady in 


the Uffizi, and an “Annunciation” in the Berlin Museum. 


¢ i ce 


Ht. o° on 


AMBROGIO DA PREDIS 
Irauian: 1455—1515 


(mM 
JY ee PORTRAIT OF A YOUTH IN A RED CAP 
\f . si (Painted on Italian poplar wood) 


Height, 16% inches; width, 111% inches 


A BUST-PORTRAIT of a youth in sharp profile, turned to the left, 
wearing a red cap with turned-up brim and held by what ap- 
pears to be a jeweled pin, long fair hair cut in a fringe over 
his forehead, and a continuous roll curl falling over his neck. 
Dressed in a gray coat which is laced up the front, and a green 
velvet waistcoat just showing at the neck, round which is a 
white stock. ‘The background appears to be a marble wall or 
pilaster with a white molding on the base. 


From the collection of Consul Weber in Hamburg, and formerly the 
property of the Viscontice family in Milan. 


Illustrated in “Archivio Storico dell’ Arte,” 1891; in Nohring’s “Col- 
lection Weber,” 1898, and Lepke’s “Galerie Weber,” 1912; also 
in the “Jahrbuch der Kunsthistorischen Sammlungen der Aller- 
hochsten Katserhauses,” 1906, 1p. 41. 


Mentioned by Dr. Bode in the “Jahrbuch der Koniglich Preussischen 
Kunstsammlungen,” 1889, p. 77; also by C. Cocera in “Archivio 
Storico dell’ Arte,” 1889; also by Fritz Harck in “Archivio Storico 
dell’ Arte,” 1891; also by Wold von Seidlitz in the “Jahrbuch der 
Kunstistorischen Sammlungen der Aller hochsten Kaiserhauses,” 
1906. Mentioned by Berenson in “The North Italian Painters 
of the Renaissance,” p. 160; mention by Morelli. 


Dr. Bode in “The Year-Book of Prussian Art Collections” 
decidedly ascribed this picture to Ambrogio da Predis. 
Morelli also includes it in the list of da Predis’s works. 


The date of Ambrogio’s birth is rather uncertain, but it is known he 
was born in Milan about the year 1455. To Morelli is due the credit 
of first calling attention to this artist’s existence, and he published an 
account of da Predis with a list of his works, an account which remains 
with slight modification the standard authority of to-day; and amongst — 
-which he mentions this picture. A few additional details of his life 
have been disclosed in recently found documents. The few events 
in his life known to us begin with the year 1482 when we find him estab- 
lished as Court painter to the Emperor Maxmilian, and in 1506 he 
designed some tapestries for the Emperor. He died about the year 
1515, but even this date we give as problematical. 


\ 
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S 


yee “LORENZO DI CREDI 


lL 
i en Iratian—FLorENTINE ScHoou: 1459—1537 


(kU VIRGIN AND CHILD WITH ST. JOHN - 
(Circular Panel) 


a Kinbabl Diameter, 8 feet #3 ; 00. 


Tue Virgin, with hands joined in prayer, kneels on the right 
of the composition, clad in a rosy crimson robe and blue man- 
tle, lined with purple. Her head is bowed toward the sacred 
Child, who lies naked on a pale blue sheet, spread upon the 
ground, and is supported by a white bolster. His eyes are 
directed toward the sky, while He holds a finger of His left 
hand to His lips. At His back kneels the little St. John, naked 
also except for a transparent drapery on his back, which is 
confined by a blue girdle. While his hands are raised in devo- 
tion, one arm supports a slender cross, the top of which shows 
against a small, rounded hill, with two bunches of trees on the 
summit and a single leafless trunk. Near the center of the mid-. 
dle distance stands a tall tree, whose slim stem is surmounted 
by a pompon of foliage. Beyond it lies a band of water, on the 
edge of which rises a pile of buildings with two battlemented 
towers, at the foot of the hill, crowned with trees and a church. 
The water reappears on the right of the composition, where an 
elevation projects which is formed of rectangular rocks, cov- 
ered at the top with a thatch of yellowish grass on which stand 
two little trees. 


Born in Florence in 1459, Lorenzo di Credi became a pupil of Andrea 
del Verrocchio, in whose bottegha he had as fellow-students Perugino 
and Leonardo da Vinci. By both of these his style was affected—the 
influence being particularly notable in the smiling happiness of his 
faces and the reverential gestures of the figures. He was of a pious 
and gentle nature and enjoyed in Florence a respectable local prac- 
tice, expending minute and patient industry on altar-pieces and easel 
pictures. Many of the latter show his partiality for the tondo or 
circular panel. During his last years he lived upon an annuity in 
the retirement of the Hospital of Santa Maria. 


vat ce wet cae 
; al ae No. 4 Bee ) 


Ww : | | 
Ls’ PIER FRANCESCO FIORENTINO Wow 
} | 3 Circa: 1440—1500 


VIRGIN AND CHILD WITH SAINTS 


(Circular Panel) Sf wD 


Diameter, 3038 wmches A 


In the center of the picture the Virgin is seen in three-quarter 
length, standing behind a parapet over which is thrown a cloth, 
and on which the Infant Jesus is lying on a cushion with gold 
tassels. The Virgin is dressed in a deep blue mantle with gold 
lace trimmings and a gold star on her left shoulder; under- 
neath this mantle she wears a red dress elaborately embroid- 
ered with gold. There is just a suspicion of very fair hair 
showing over her left temple, under the white head-veil. Her 
hands are joined together, and raised in the action of adoration 
of the infant. On the left is the little St. John with fair curly 
hair and a greenish garment lined with fur; he has his back 
turned slightly towards the spectator and is looking down at 
the infant Christ with hands clasped in prayer. On the right 
can be seen the head and shoulders of another little saint in a 
red mantle and long fair hair, his hands, just showing, raised 
in front of him. Behind the figures is a background of a 
hedge of roses, carnations and dahlias, and the pigment is put 
on so thick that it stands out in relief; the upper part of the 
background is gold, carefully tooled to represent the rays of 
the setting sun, and the designs of the halos are also stamped 
in gold. 7 

The old carved frame and picture are in one solid panel 
measuring 42 inches in diameter. 


Formerly in the Palazzo Rossi Collection, Bologna 


Pier Francesco Fiorentino was born in Florence about the middle of 
the fifteenth century, but the actual date of his birth cannot be given 


with any precision; in any case, it is known that he was brought up 
in Florence and, according to some writers, he afterwards became a 
priest or monk of the order of the Angeli, and probably learnt his 
art originally from Don Lorenzo, a monk of the same order, who was 
first noticed as a painter in 1410. 


Francesco Fiorentino, after Lorenzo’s death, painted the 
tabernacle at the corner of Santa Maria Novella, at the upper 
end of the Via della Scala. This tabernacle is still to be seen, 
somewhat injured, it is true, but not so much as to prevent 
perceiving the force of design, delicacy of execution, and grace 
of coloring exhibited by the painter. 

Berenson quotes this master as having been active dur- 
ing the last three decades of the fifteenth century, as possibly 
a pupil of Fra Angelico or Benozzo Gozzoli, and having copied 
many of the subjects painted by Fra Filippo and Pesellino. 
The greater quantity of his works are at San Gemignano. 


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Woe No. 5 Pete © 


)  \i“MARIOTTO ALBERTINELLI 0 


- 
ir LORENTINE—ITALIAN ScHooL: 1474—1515 


MADONNA AND CHILD 
( Panel) 


Height, 3114 mches; width, 2234 inches 


_ THREE-QUARTER length, seated on a rock and turned to gol. Lats 


left with her head slightly bent forward and looking down, the 
Virgin is dressed in a dark green mantle and hood of the same 
color, the mantle being joined by a brooch at the breast, with 
a purple dress underneath. Her left hand is resting on a book, 
and with her right she is holding the body of the Child, who is 
almost naked with the exception of a white shirt which shows 
over His right shoulder and arm. 

The Infant Jesus is looking downwards, with His left hand 
clasping the right hand of His mother, and is seated on a white 
cloth on her lap.. The background is a landscape showing many 
buildings and a bridge on the right. 


Mariotto Albertinelli was the son of Biagio di Bindo Albertinelli, born 
at Florence in 1474, and was apprenticed when quite young to Cosimo 
Rosselli, in whose studio he was the fellow-pupil of Fra Bartolommeo, 
and painted mostly sacred subjects. He was greatly influenced, ac- 
cording to Berenson, by Lorenzo di Credi. He entered into partner- 
ship with Fra Bartolommeo, and some of the works they executed con- 
jointly are marked with a cross and two interlaced rings. So closely 
did the two adhere to the same style that their works appeared to be 
by the same hand, and when Fra Bartolommeo retired into a monas- 
tery, Albertinelli finished some of the works the former had left un- 
completed. His masterpiece, ‘The Visitation,” now in the Uffizi, and 
which was executed in 1503, before Bartolommeo recommenced paint- 
ing, shows that his skill in painting was equal to, if not better 
than, that of his late partner. It is said that Albertinelli gave up 
painting and became an innkeeper; this was probably while Fra Bar- 
tolommeo was in retirement, and accounts also for the great rarity 
of his works; they, however, again painted together from 1510 to 1513. 

In 1513 Albertinelli was working in Rome, but unfortunately died 
the same year after his return to Florence. 


pg COSIMO (DI LORENZO DI FILIPPO) ROSSELLI 


ITaLiIAN—FLORENTINE ScHOOL: 1439—1507 


| VIRGIN AND CHILD WITH ST. JOHN AND 
tte ural; had SAINTS 
} b tH. (Circular Panel) | 

! 


Diameter, 3 feet 234 imches 


Tue Virgin is seated almost full face, the blue mantle which 
covers her figure being open over the bosom, revealing a crim- 
son robe, which, like the mantle, is edged with a gold diaper. 
Below the neck of the robe is a button with a device that sug- 
gests a fleur-de-lis. Her left hand supports the Child, who 
stands on her lap, holding across his nude body the extremity 
of her gauze veil. Meanwhile His right hand grasps a cross, 
which is also being held by the little St. John, who kneels at 
the left, clad in a dull rosy tunic, edged with camel’s hair. 
Beside him appears a segment of a toothed wheel, the emblem 
of martyrdom of St. Catherine of Alexandria. The Saint her- 
self stands behind it, gazing devoutly at the Child-Christ, while 
her hands hold a pen above a book in memory of the learn- 
ing with which she confounded the Pagan arguments. Jorm- 
ing a pendant to her, on the right of the composition, stand 
two youthful saints, one of whom supports with her mantle a 
mass of roses—intended, possibly, to identify her with St. Eliz- 
abeth of Hungary. At the back of these two figures rise a 
pair of tall slender trees, above which three lines of birds are 
flying. The landscape is hilly and dotted with trees, distin- 
guished on the right by a hill, which is surmounted by a con- 
vent, and, on the left, by a rocky eminence supporting a wil- 
low tree. 


A native of Florence, Rosselli became at the age of fourteen a pupil 
of Neri di Bicci. His first work, according to Vasari, is an “‘Assump- 


tion of the Virgin” over the third altar on the left in the Church of 
San Ambrogio. Later he visited Lucca, where he painted several 
altar-pieces. In 1480 he was invited by Sixtus IV to assist in the 
frescoes of the Sixtine Chapel and executed “Destruction of Pha- 
roah’s Army,” “Christ Preaching by the Lake of. Tiberias” and “The 
Last Supper.” In these he was assisted by his pupil, Piero di Cosimo. 
His chief pupil was Fra Bartolommeo. Vasari states that Rosselli_ 
_ died in 1484, but this is contradicted by his will, which still exists and 
is dated November 25, 1506. 


49.300. 


Wye JACOPO DEL SELLAJO 


1441—1493 


PROCESSIONAL SCENE 
(Panel) 


o Maoh Height, 17 inches; length, 6534 iches 


Ow a hill, to the right of the picture, a Sibyl is seen seated 
watching the vision spread out before her: this is represented 
by a triumphal procession wending its way towards Rome. In 
the center foreground, a crowned king and his general are 
seen seated on a triumphal car drawn by white horses with gold 
trappings and attended by warriors on horseback and many 
others on foot. The whole procession has been disturbed and 
put in disorder by the appearance of a black eagle holding a 
terrestrial sphere in its claws, which has suddenly swooped 


down, and is hovering over the general’s head. ‘The crowd gazes — 


up in amazement and consternation, and even the horses have 
become restless and uncontrollable at the apparition. It is 
merely an old legend symbolical of the fact that the general 
will be the future king. At the back of the procession are 
dark-brown green hills, with bushes and trees, forming a 
perfect background or screen, which throws into bright relief 
the figures and white horses in the foreground, which are all 
elaborately penciled in gold. ‘To the extreme right, the same 
procession is seen entering the city of Rome with the car, the 
eagle still hovering over it. The whole of the background is 
taken up with the River Tiber, which is seen winding its way 
through various islands into the far distance. 


This painting once formed the front panel of a cassone 
or wedding chest, greatly in vogue at that time, and generally 
decorated with historical and mythological subjects, and often, 


as in this case, various episodes of the same subject were | 
LA 


painted on one panel. 


\ GK WY LA > i as J UA Ww 


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Jacopo del Sellajo was a pupil of Fra Filippo and a fellow-worker 
with Piselli. All of his pleasantest works may be described as being 
translations of Botticelli into more coercive and fluent calligraphy. 
This is at once more attractive and more acceptable to the decora- 
tion of household furniture, and this panel shows this spirited imitator 
of Botticelli at his best. 

According to Vasari, Jacopo del Sellajo painted two pictures for 
the Church of San Friani, and one in distemper for that of the Car- 
mines. These few words are all the notice we have concerning this 
artist and his works, nor do we know the fate of these paintings. 


PAUL POTTER 


1625—1654 ens 
ee 


LANDSCAPE WITH CATTLE 


Canvas: Height, 2624 inches; width, #944 inches 


AG Fee cas nas os oa 


On the left of the foreground a woman in red with white fichu 
and white cap on her head, and whose face is turned towards 
the spectator, sits milking a black cow. 'To the left a brown 
and white cow is lying down, and behind her in a slight shadow 
stands a red cow. The animals are grouped in front of a 
thatched farm building which has open double doors with — 
pigeon-cot above. Over the top of the shed rise the red gables 
and roof of a chateau, distinguished by a tall octagonal tower 
roofed with slate; to the left of this are trees extending towards 
the left middle distance, where a glimpse of cornfields appears 
in a bright light, and a shepherd is seen driving his flock. In 
the extreme right foreground are two pigs, one lying down 
asleep while the other grovels among some rubbish. 


Signed on the lower left-hand corner, ““PauLus PoTTER F.” 


From the collections of Prince Kaunitz; Baron de Rothschild; M. 
Edouard Kums (illustrated in catalogue); C. T. Yerkes, Esq. 
(illustrated in catalogue). 


Paul Potter, the greatest animal-painter of the Dutch School, was 
born in 1625 at the then flourishing town of Entkuizen, where he was 
baptized on 20th November in the same year. By his mother he de- 
scended from the d’Egmont family, one of the most noble in the coun- 
try and celebrated for the part they took in the enfranchisement of 
the Netherlands from the Spanish domination; one of his ancestors 
being beheaded for rebellion at Brussels (1568). 

His father, Pieter Potter, a talented landscape-painter, was his 
first and chief master. Dr. Waagen mentions a remarkable allegorical 


composition by him, entitled “Vanity,” at Aix-la-Chapelle. He brought 
his son with him to Amsterdam in 1681, and having obtained the right 
of citizenship, he settled there. It was in that town that Paul Potter 
came under the tuition of Claes Moeyaert, whose influence on his style 
is undeniable. At the age of fourteen or fifteen he was already an 
accomplished artist. The verdant fields of his country, the rich pas- 
tures, and the beautiful Netherlandish farms inspired him at the out- 
set, they ever remained his subjects of predilection and became his 
genius: he loved, above all, simplicity. Animals in all their reality, 
rustic scenes such as he saw them, were what from youth he aimed 
at drawing and etching before he began to paint. He constantly 
roamed about the country, making sketches of all that struck him, 
and many of these provided him afterwards with subjects for his fin- 
ished pictures. ‘These rough sketches, so true to nature and so much 
sought by amateurs, reveal his intimate taste and his genius in the 
art of imitation. 

Paul Potter, having begun by engraving, always retained his taste 
for this art. He was only eighteen years of age when he engraved 
“The Herdsman,” and nineteen when he executed “The Shepherd,” 
two masterpieces; and how he could, when still so young, produce works 
which would cover with glory the most matured artist, is scarcely 
conceivable. Bartsch says: ‘Perfect accuracy of drawing, striking 
truthfulness in the individuality of the animals, remarkable intelligence 
in the composition, happy effect of the chiaroscuro, everything unites 
to raise them to the level of the truest masterpieces.” And yet this 
praise is still in a greater degree applicable to the painter. In 1641 
Paul Potter went to The Hague to study the masters of the Dutch 
School; he admired them, but did not imitate any; he remained him- 
self. The artist did not leave The Hague until 1650, when on 3d 
July of that year he married Adriana, daughter of the architect Balck- 
eneynde, and shortly after, on the entreaties of Burgomaster Dr. 
Tulp, one of his warmest admirers, went to Amsterdam, where he def- 
initively settled. 

During this second part of his too short career, Paul Potter 
painted that remarkable work, “Orpheus Charming the Animals,” 
in the Amsterdam Museum, not only one of his finest works, but also 
one of greatest interest as proving that the great artist had con- 
trived to study, with equal care and success, wild beasts and domestic 


now 


animals. 
This eminent painter worked with unimaginable ardor, hardly 
leaving his brush during the day and spending his nights in engraving 


in aqua-fortis. Whenever he went abroad he had his sketch-book in 
his hand and noted everything that attracted his attention: animals’ 
attitudes, structure of plants, effects of light, scenes and landscapes. 
Such persistent work at length affected his health, and through his 
constant roaming in the country, which he loved so intensely, in search 
of new subjects, on a winter day he contracted pneumonia and died 
in his twenty-ninth year in all the fulness of his manhood, and in the 
plenitude of his talent. He was buried on the 17th January, 1654, in 
the Great Chapel of Amsterdam. ; | 


A ibis ‘ ih tt 
V peg a 
| , /} ~P | 
_-~ AELBERT CUYP ee 


Durcu: 1620—1691. 


At 
x | v» THE FLIGHT INTO EGYPT . 
iw YN (Panel) | ae 
& /% o-3%_ A vt: tr" 0 
Q Height, 45 inches; width, 5 inches | @] 


/ 

: 
In the background to the left, a town with turreted walls rises A} (Wr 
to view in the scintillating brilliance of the setting sun. Inthe \,) | ‘ 
foreground to the left, less brightly illuminated, a peasant leads ( : 
an ass, bearing a woman and child; towards the right, a man, 
standing seen from behind, talks to a seated peasant woman; p Y ; GVO oe. 
her child stands beside her, and her oxen are feeding, or pass- 
ing over a wooden foot-bridge. Large trees lift their tufted 4 - [yr ol 
foliage towards the radiant sky, on the same side. Looking 
at the group on the left, it seems evident that, in this part of 
the picture at least, the artist wished to represent the flight of 
the Holy Family into Egypt. 

2 Signed below, to the left, with the monogram. 


Mrs. E. Romilly’s Collection, London, 1878. 
Baron de Beurnonville’s Collection, Paris, 1881. 
Rudolph Kann Collection, 1907. 


Aelbert Cuyp, one of the greatest Dutch painters, was born at Dor- 
drecht in 1605. He descended from a family of artists, for his father, 
Jacob Gerritsz Cuyp, who was his first master, was not only an esti- 
mable portrait painter, but he also painted views of towns, battle 
scenes, and genre pictures; and an uncle of Aelbert, Benjamin Ger- 
ritsz Cuyp, painted religious pictures for churches, and war scenes. 
Aelbert Cuyp soon surpassed his father, but notwithstanding his great 
talent, his fame was mostly posthumous; strange as this may appear, 
it may be accounted for by the fact that, the pecuniary reward he 
got for his works being insufficient, he continued to exercise the pro- 
fession of brewer concurrently with his artistic pursuits; this also 


explains why some writers have thought that he only practised art 
as an amateur. 

Aelbert Cuyp is none the less, with Claude Lorrain, one of the 
most admirable painters of light. He has rendered in a marvelous 
manner and with an equally happy result, the blazing heat of the 
sun and the caresses of its rays towards the decline of day. His 
touch is at once fresh and robust, and his coloring vibrating. Now 
he groups cattle and shepherds in most charming rural surroundings; 
now he paints the lordly personages of his time, as in the “Départ 
pour la promenade” in the Louvre, and in various portraits; but exam- 
ples of such subjects are to an extent exceptional with him. He pre- 
fers to show us the River Maas alive with picturesque craft, its banks 
peopled with shepherds tending their flocks, or the sea rippled with 
watered silk-like effects of ight, or again trains of peaceful country 
people escorted by their superb ruminants. 

His extensive work comprises at least three hundred and thirty- 
five known pictures, which are to be found chiefly in the Museums of 
England, The Hague and Antwerp. Besides the “Départ pour la 
promenade” already mentioned, the Louvre possesses by him a most 
beautiful marine. He is well represented in the Dulwich and National 
Galleries, London. 

Cuyp married in 1658 and lived chiefly on his estate, Dortwyk, 
near Dordrecht, where he enjoyed great consideration. He died in 
1691, and was buried in the Church of the Augustines at Dordrecht. 


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| i \ AELBERT CUYP i ie 
a Dutcu: 1620—1691 m ie Oe 0 O 
OXEN IN A SHED 2 » 
(Panel) ae 
(7 “qe 22 G b 30D. 


Height, 44 inches; width, 58 inches is 

In a cow-shed, lighted by a bay on the left, a brown and white 
ox is tied up, in profile to the left, near a black ox, which is 
lying on its legs, three-quarters to the left and facing the spec- 
tator. The two beasts are placed in front of a wooden parti- 
tion, which divides the shed in two. On the top of the partition 
are a cock and a hen, the hen upright on her legs, the cock roost- 
ing. To the left a hen is laying in a basket slung from a 
beam. Another hen is pecking on the ground on the same 
side. ‘To the left, on the inner sill of the bay, a black pigeon 
with a white head and tail has perched. ‘To the left, in the 
shadow, a wooden bowl and a brass jug near the shards of a 
broken pitcher. Some oars are placed against the wall, on 
which a straw hat is hanging. 


Thomas Norris Collection, Bury, England, 1878. 
Baron Liebig’s Collection, Reichenberg, Austria. 


Rudolph Kann Collection, 1907. 


29° a 7 
mn S No. 11 I ot | 


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~ AELBERT CUYP ; ar pe 


4 


Deron: 1605—1691 \™ wwe wt 


ee Eee CATTLE, AND SHEPHERDS IN A 


Seoll 2» Di ty bie LANDSCAPE 


ih 40. Canvas: Height, 40 inches; length, 64 inches 
) 


ON a road running by the side of a river are two horsemen rid- — 
ing gray horses; one of them wears a blue jacket with red 
sleeves, the other is clad in red and sits on a red saddle. A 
shepherdess dressed in blue and white is indicating the way 
to the second rider; in the middle distance a third man, dressed 
in blue, riding a dark chestnut horse, has just crossed a three- 
arched bridge and is passing a clump of four tall slender trees. 
On the left, on the bank of the river, is a herd of cows and sheep 
tended by two herdsmen. _On the right of the picture rocky, 
wooded hills rise to a considerable height, and towards them a 
herdsman is driving a group of cows over the bridge. Beyond 
are outlined the buildings of a large town; from this to the ex- 
treme left extends a stretch of flat country gradually disap- : 
pearing in the misty far distance. In the near left foreground ~ 
is a dog standing in the shadow of a rocky bank. ‘The scene : 
represents a fine summer morning, and the atmospheric effects 

of summer light on land and sky are most admirably rendered, 

while the aerial perspective is that of nature itself. This is, 
according to de Groot, one of the best pictures by Cuyp on the 
Continent. : 


Signed in full in the right-hand bottom corner. 


Described in Smith’s “Catalogue Raisonné,” No. 138, and Supplement, 
No. 47. 

Exhibited at the Royal Academy Winter Exhibitions of 1872, No. 157; 
and 1894, No. 56. 


From the Collections of Edmund Higginson of Saltmarshe Castle, 
1842; Joseph Bond, 1872, who lent it to the Academy; C. Wert-— 
heimer, 1894, who lent it to the Academy; Comte Boni de Cas- 
tellane; M. Maurice Kann, Paris. 


The London Times of 8th January, 1894, says: 


“Mr. Wertheimer’s picture, which is very highly finished 
and very transparently painted, contains just three elements 
of a landscape that Cuyp loved best—hills and a river, a bridge 
with horsemen, cattle and shepherds—and the manner of treat- 
ment is almost exactly what we see in the best of the celebrated 
pictures in the Dulwich Gallery.” 


No. 12 wry” | 
‘an na 


/) SIR THOMAS LAWRENCE, PRAL” eo 
Sut toute Lr nN is 


Britisnh ScHooui: 1769—1830 () uy . . 
13 /, ind, : ey | 
| 


PORTRAIT OF MISS SOTHERAN 


f Qe re Height, 4 feet 21% inches; width, 3 feet 4 inches 
Qy » Tue portrait, nearly full-length, represents a young lady 
\ yy Seated. Her face and bust are turned three-quarters to the . 


\\p spectator, as she rests her left shoulder against a corner of 
a the chair-back, while the lower part of her figure is extended 
ae across the picture to the left. Her oval and warmly tinted 
é face is surmounted by loose dark brown curls which finish in 
a knob on the top of her head. She is simply dressed in a 
creamy-white gown, confined at the waist with a blue sash and 
edged with soft frills at the neck and cuffs. From her left 
shoulder depends a salmon-colored silk shawl, bordered with 
a band of white succeeded by one of blue, decorated with red 
flowers. Her left arm hangs down, while the right lies along 
the edge of her skirt, the hand holding a ribbon from which 
a straw hat is suspended. A mass of dark foliage forms a 
background to the head and shoulders; part of the shaft of a 
fluted column appearing on the right and, on the left, a vista 
of water and trees and blue hills under a creamy sky. 


Lawrence painted a portrait also of Admiral Sotheran. 


Son of a Bristol innkeeper, who later moved to the “Black Board,” De- 
vizes. Lawrence was a youthful prodigy who made portrait-draw- 
ings of his father’s guests and entertained them with recitations from 
Shakespeare. At twelve years old he made his début as a crayon 
portraitist, in Oxford, whence his father removed to the fashionable 
resort of Bath. In 1787 he arrived in London, was kindly received 
by Reynolds and entered the School of the Royal Academy. Begin- 
ning almost immediately to exhibit, he rapidly secured a reputation, 
one of his earliest successes being the ‘‘Portrait of Miss Farren,”’ 


/ 

painted when he was about twenty-one. He was elected an Associate 
of the Academy in 1791, and three years later an Academician, this 
honor being conferred upon him before the age prescribed by the | 
rules through the express wish of George III, who, on the death of 
Reynolds, chose Lawrence as principal Royal painter. He was 
knighted in 1815 and in 1818 went to Aix-la-Chapelle to paint the 
sovereigns and diplomatists assembled for the Peace conferences. 
Thence he visited Vienna and Rome and was received with every mark 
of honor. Returning home, after an absence of eighteen months, he 
found himself elected President of the Royal Academy. After hold- 
ing office for ten years he died, January 7, 1830, and was buried near 


to Reynolds in St. Paul’s Cathedral. 


, \A No. 13 sk 


eee is rf Oe 


Wr \ od gt ate. 


,~ SIR JOSHUA REYNOLDS, P.R.A. 


Y wr \ British Scuooi: 1723—1792 60 


MRS. OTWAY AND CHILD 


8 
WS. i Sees (3 Height, 57 inches; width, 44 inches 


12,0, 000. 


SARAH, wife of Francis Otway, and her daughter Jane, after- 
wards Mrs. McMurdo. Mrs. Otway is seen seated, turned 
three-quarters to the left, dressed in a white dress, over which 
is a spotted quilted cloak with large loose sleeves turned back 
with deep lace frills. Brown hair, done very high, with a yel- 
low muslin bow as a head-dress. She holds her daughter’s right 
hand in hers, and her left hand rests carelessly in her lap, 
showing on her wrist a black velvet band on which is an oval 
miniature of a lady, set with pearls. The child, her daughter, 
is standing on a sofa to the left, with her left hand just touch- 
ing the right shoulder of her mother; she is dressed in a low- 
cut white bodice and panier, under which is a pink skirt; red 
and white feathers in her hair held in with a row of pearls. On 
each shoulder there is a gold brooch, the same ornament is seen 
on the bodice, and each sleeve is kept back by a gold armlet 
set with pearls. A landscape background seen through 
window behind the child. 


An entry in Reynolds’s second ledger reads thus: “Mrs. 
Otway, agreed for 135 guineas, or rather 70 and 35.” 


Mentioned in Sir Walter Armstrong’s “Reynolds,” page 222. 
Mentioned and described in Graves and Cronim’s “Works of Reynolds.” 


The mezzotint by James Scott is published in Graves’ de luxe edition 
of “The Works of Sir Joshua Reynolds.” 


From the Oppenheim Collection, and formerly in the possession of 
Charles Sackville Bale, Esq., grandson of Mrs. Otway. 


ae ae 


Exhibited at the British Institution in 1841 as “Mrs. Otway and 
Child,” and again in 1857 as “Family Portraits.” 


Sir Joshua Reynolds, portrait and subject painter, was born at Plymp- 
ton Earls, near Plymouth, on 16th July, 1723, the year of Knel- 
ler’s death. His father, a clergyman and master of Plympton Gram- 
mar School, intended him for the medical profession, but he soon 
developed a strong aptitude for painting, and was continually study- 
ing the plates in Cat’s “Book of Emblems,” Dryden’s “Plutarch” and 
any other volumes that came in his way; at the age of eight, he not 
only mastered the principles of perspective, but could apply them 
to drawings executed by himself, a feat that some painters have failed 
to achieve in a life-time. In 1740 he was sent to London to study 
art, and placed in the studio of Thomas Hudson, a portrait-painter 
well patronized at the time. In 1743 he returned to Devonshire and 
executed portraits of local notable people; some of these portraits 
are still in existence. In the following year he was again in London 
pursuing his art, but at the death of his father, in 1747, he set- 
tled in Plymouth Dock, now Devonport. In 1749 he made the ac- 
quaintance of Commodore, afterwards Lord Keppel, who invited him 
to accompany him on a cruise in the Mediterranean, on which occa- 
sion he painted the-portraits of many British officers in Minorca. He 
afterwards made his way to Rome in order to study Raphael and 
Michael Angelo; in the Vatican he caught the chill which perma- 
nently affected his hearing and compelled him to use an ear-trumpet 
during the rest of his life. On leaving Rome he visited Bologna, Genoa, 
Florence, Parma, and Venice. Returning to London in 1752, he es- 
tablished himself in a studio in St. Martin’s Lane, and immediately 
attracted notice by his portraits of the second Duke of Devonshire 
and Commodore Keppel. He soon was in excellent practice, and in 
the year 1755 had no less than a hundred and twenty sitters. In 
these portraits the influence of the Italian masters, and especially of 
Correggio, is clearly visible, but they nevertheless bear the strong im- 
pression of his own character and individuality. He soon removed 
to Great Newport Street, and in 1760 purchased a mansion in Leices- 
ter Square, to which he added a studio and reception room. 

He was now at the height of his fame and a valued friend of his 
most celebrated contemporaries. In 1764 he founded the famous lit- 
erary club of which Dr. Johnson, Garrick, Burke, Goldsmith, Bos- 
well, and Sheridan were members; all of whom were portrayed by 
his brush. 


He was one of the earliest members of the Incorporated Society 
of Artists, and contributed to its exhibitions till 1768, when, on the 
establishment of the Royal Academy, he was elected its first Presi- 
dent, and in the following year received the honor of knighthood from 
the King. In 1769 he delivered his first lecture to the students of the 
Academy ; fifteen of his lectures have been published and translated into 
French by Janssen under the title of “Discours sur les Arts.” They 
are full of most valuable instructions and abound in well-considered 
information. He died in London on 23d February, 1792. 

Reynolds has been justly named the founder of the British School 
of painting. He was passionately fond of his art, and no artist ever 
made such experiments as he did to perfect its technique, even going 
so far as sacrificing Venetian pictures by decomposing the colors and 
analyzing them in order to discover the secret processes of the Mas- 
ters. By a happy combination of study and judicious application of 
his own powerful qualities he created a style which, though it resus- 
citated the emulation of generations of artists, will ever remain his own. 


No. 14 2 
we eat 


F oA “STR ANTHONY VAN DYCK oy ~ 5 a ba 


Friemisyu: 1599—1641 


Wu hy ot aS Dunk ad 
PORTRAIT OF ALEXANDER TRIEST, BARC — 
D’'AUWEGHEM ~) lob Meebowm, 
log 
Canvas: Height, 4814 inches; width, 871% iwches og. Mt 6. 


STANDING, dressed in black velvet, his neck encased in a wide ¥ 

stiffly gauffered ruff, he rests his right hand on the pommel *¥7 DO. 
of his sword, his left arm hanging naturally by his side. His BA 4, oly | 
long nervous patrician hands emerge from sleeves with turned al 
back cuffs of white lawn. The head is turned three-quarters to 
the right; the features are regular; the upper lip is shaded by 
a light chestnut mustache twisted into points at the ends; on 
the chin, an imperial. The hair is cut short, leaving the intelli- 
gent forehead bare; the eyes have a penetrating expression. On 
the background to the left above are the arms of the sitter and 
the date 1620. 


Lord Carlisle’s Collection, London. 


a 


Rudolph Kann Collection, Paris, 1907. (hy ams tee bepaloput, lo4 
| ae yf 1% } 
Anthony Van Dyck was born in Antwerp, March 22, 1599; died in 
London, December 9, 1641. At ten years of age he was apprenticed 
by his father, Francis Van Dyck, linen draper, to Hendrik Van Balen, 
and at sixteen he entered the studio of Rubens as his pupil and as- 
sistant, employed by this great master to prepare black and white 
drawings for his pictures for the use of the engravers who worked 
under his eye, and to make cartoons from his sketches. Van Dyck’s 
talent developed with astonishing rapidity. He obtained access to 
James I through the Countess of Arundel. He painted the king’s 
| portrait at Windsor. In the autumn of 1621 the king gave him a 
horse and sent him on a journey to Italy, where Van Dyck took up 
his residence. Jealousy of his great success made Rome intolerable, 
and he proceeded to Genoa in January, 1624, and remained there 


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until the next year, when he returned home. Rubens was very fond 
of him, and bought several of his pictures, which set the tide running 
| in his favor. After an unsuccessful visit to England in 1627, where 
he failed to obtain presentation at Court for want of favor with the 
Duke of Buckingham, Van Dyck lived for three years at Antwerp 
| and Brussels, painting and etching a number of pictures which have 
| become famous. In 1630 Charles I, who had seen some of his work, 
invited him to England. In April, 1632, Van Dyck obeyed the sum- 
I mons, and after he had been presented to the king by Sir Kenelm Dig- 
f by, painted his portrait, that of the queen, and the great picture of 
: the royal family now at Windsor. In July he was knghted and ap- 


pointed court painter, and in October, 1633, had a pension of £200 
a year assigned to him. During the next nine years he painted nine- 
teen portraits of the king, seventeen of the queen, as well as many of 
their children, at a fixed price of £50 for half and £100 for full length 
figures. Living in a style of splendor far beyond his means, Van Dyck 
became more and more embarrassed as the troubles of Charles’s reign 
thickened, until in 1638 he presented his unpaid claims to the king, 
including his pension for the past five years, payment for many por- 
| traits and for four cartoons for tapestries at Whitehall, which he 
valued at the large sum of £80,000. These claims were but partially 
satisfied when he went to France in 1641. Disappointed and in broken 
health, he returned to England via Antwerp, and on the first of De- 
| cember, the birthday of his daughter Giustiniana, he made his will, 
and on the ninth he expired. He was buried in St. Paul’s Cathedral. 


l 


THE HOLY FAMILY 
. hy) G3 ee 
Height,-59 inches; length, inches he A, 


THis magnificent composition contains six life-size figures. The 
Virgin, seated and offering the breast to the Child, who is lying 
in her lap, occupies the center of the picture; a cherub stands 
at her feet, looking up into her face. On the left is St. Cath- 
erine holding the little St. John, and on the right St. Joseph 
bending over the group. The background is formed of a rocky 
landscape. ‘This masterpiece exhibits to perfection the mar- 
velous gifts of the master, the truthfulness of the outline, the 
savant modeling of the expressive faces and of the limbs, the 
grace of the draperies, the depth of coloring and the limpidity 
of the chiaroscuro, the realization of which were manifestly 
due to the innate faculties of Rubens, the greatest of Flemish 
painters. 


From the Collection of the Duke of Sutherland. 


Mentioned in Theodore Lejewne’s “Guide de Vamateur de Tableaua,” 
vol. vu, p. 332. 


Dr. Waagen, in “The Treasures of Art in Great Britain,” 
vol ii, p. 68, on the subject of “The Holy Family” by Rubens, 
in the Stafford House Collection, makes the following remark: 
“The Virgin with the Child, seated in a landscape surrounded 
by SS. John, Joseph, Elizabeth, and Angels; the expression of 
maternal affection in the Virgin and the joyousness in the 
Child is very pleasing. Figures life-size, in masterly impasto | 
and in a clear golden glowing tone.” 


Rubens was born at Siegen, in Westphalia, on the festival of SS. Peter 
and Paul. His parents were natives of Antwerp, but, being Protest- 


ants, had moved to Cologne to escape the religious disturbances, and 
again, in consequence of some disagreement with the authorities in 
that city, had temporarily settled in Siegen. In 1578 they resettled 
in Cologne, where the father’s death occurred in 1587, after which— 
the mother, having embraced the Catholic faith, returned to Antwerp 
with her son. 

Although destined for the law, he showed such a desire to be a 
painter that he was placed with Adam Van Noort, with whom he studied 
four years, afterwards spending another four years under Otho Vae-— 
nius, the most celebrated painter of the period in Antwerp. In 1600 
he went to Italy and entered the service of Gonzaga, Duke of Mantua, 
devoting much of the time to copying works in Venice and Rome for 
the Duke. 

In 1605 he was sent on a mission to Philip III of Spain, and dur- 
ing his three years’ stay in Madrid was intimate with Velasquez and 
painted many portraits. Hearing of his mother’s illness, he hastened 
home by way of Genoa, to find that she was dead. ‘The Archduke 
Albert, then Governor of the Netherlands, persuaded him to remain 
in Antwerp and appointed him court painter. 

In 1609 Rubens married his first wife, Isabella Brant, and the fol- 
lowing year built himself a magnificent house. This was the period 
in which he painted the masterpieces in Antwerp Cathedral—the “*Cru- 
cifixion” and “The Descent from the Cross.” In 1620 Marie de Méd- 
icis invited him to Paris, where he painted the great series of pictures 
commemorating her marriage with Henry IV, which are now in the 
Louvre. Returning to Antwerp, he was despatched by the Infanta Isa- 
bella, widow of the Archduke, in 1628 on a diplomatic mission to 
Philip IV of Spain, and the following year on a similar errand to 
the court of Charles I of England, being knighted. by both monarchs. 
His wife having died in 1626, he married in 1630 Helena Fourment, 
a beautiful girl of sixteen, whose portrait, like that of the former wife, 
appears often in his pictures. Their union lasted ten years, when 
Rubens died, possessed of immense wealth, and was buried with pomp 
in his private chapel in the Church of St. Jacques. 


AMERICAN ART ASSOCIATION, 
MANAGERS. 
THOMAS E. KIRBY, 


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